Candida Höfer's work –along with the works of Andreas Gursky, Axel Hütte, Thomas Ruff and Thomas Struth—is framed within the tradition of German photographers, direct heirs to the conceptual aesthetic and teachings of Bernd and Hilla Becher at the Kunstakademie in Düsseldorf, who would readapt the original project of the New Objectivity to adopt a unique way to face the world.

Following the work method initiated by her masters, her photographs show an interest almost ethnic in contemporary culture’s multiplicity of forms of representation, establishing a particular relationship with the staging where society and knowledge develop: Building interiors, preferably of public or semi-public use, which like museums, theatres and opera theatres, archives and libraries, are photographed when all activity has ceased and they are empty.

After a careful production process, carried out in the context of the Jubilee Year, Candida Höfer presents a new body of images under the title Espacios propios (Spaces of their own), “a photographic pilgrimage” across spaces of cultural exchange, of oral literature, of archives and libraries, which draw the cartography of one of the oldest communication networks, as the Way of Saint James is, and which is captured in three different exhibitions: Espacios (Spaces), at San Martín Pinario’s Abbey; Lugares (Places), at the Library of the City of Culture of Galicia; and Imágenes (Images), enclosed within a space of paper —a publication.